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Nonsense Eliminator
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PostPosted: Wed Oct 18, 2017 10:15 am    Post subject: Reply with quote

Good: focussing on playing in time, and allowing the metronome to tell you when you're out

Much Less Good: focussing on the metronome and exclusively trying to line up with every tick

That said -- a lot of students, of ALL levels, could save a lot of time and money by practicing with a metronome. I have never said, "Why are you wasting our time playing like this? I'm not going to ask if you've practiced this with a metronome, because it's obvious that you haven't. Go away and don't come back until it's in time." But I've wanted to many, many times.
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Don Herman rev2
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PostPosted: Wed Oct 18, 2017 11:24 am    Post subject: Reply with quote

A metronome can also be useful in subdividing the beat to work out tricky rhythmic figures and helping figure out nagging little issues like coming in just a hair after the downbeat or extending a note to last its full written duration (a whole note does not end on beat 4.5 or 4.75 as much as I sometimes want it to). I sometimes find those sorts of things creep in unnoticed until large enough that everyone notices.
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trickg
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PostPosted: Wed Oct 18, 2017 11:35 am    Post subject: Reply with quote

Nonsense Eliminator wrote:
Good: focussing on playing in time, and allowing the metronome to tell you when you're out

Much Less Good: focussing on the metronome and exclusively trying to line up with every tick

That said -- a lot of students, of ALL levels, could save a lot of time and money by practicing with a metronome. I have never said, "Why are you wasting our time playing like this? I'm not going to ask if you've practiced this with a metronome, because it's obvious that you haven't. Go away and don't come back until it's in time." But I've wanted to many, many times.

I like to get out my Yamaha Clickstation if I'm working out music with tricky rhythmic figures. I can set the time signature, accent the '1', and divide the beat in a number of different ways - divided, subdivided, divided as triplets, etc. I can also change the volume of the accented '1', divisions and subdivisions individually - it's discontinued now, but it's basically Yamaha's version of the Dr. Beat, and IMO superior to the Dr. Beat.

I've never tried to match up with every tick, but if a person has the ability to play in the pocket, they'll line up anyway.

As a drummer I've never had an issue playing to a click. I attribute it to years of playing with other drummers, so that when I'm drumming, I'm just playing along as if it was another instrument establishing the time. For me it was never difficult to play with a click with either trumpet or drums, but again, I've been blessed with better time than the average person.
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jhatpro
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PostPosted: Wed Oct 18, 2017 1:42 pm    Post subject: Reply with quote

I agree with those who say skip the book, bring your brain. You can do a lot by playing arpeggios, licks, etc. through the cycle of fifths. And you don't have to lug all that paper around.
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homecookin
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PostPosted: Wed Oct 18, 2017 4:58 pm    Post subject: Reply with quote

Paladin53 wrote:
I would agree that a metronome is a valuable practice aid.

On the other hand, how many metronomes did Louis Armstrong wear out developing his great since of time?


I am a huge fan of Louis Armstrong.
I have read everything I can get my hands on about Louis Armstrong.
I have listened to every recorded example that I can find of Louis Armstrong.
I have done this over a period of many years.
Louis Armstrong was intuitive musical genius.
Especially when it came to rhythm.
He had an innate sense of musical rhythm.
So did Buddy Rich for that matter.
Louis Armstrong's genius when it came to rhythm was
where he placed the notes in relation to the beat of the music.
His use of syncopation and repeated rhythmic figures
was something that was new and exciting
and evolutionary when he was in his early years of his career.
The rhythmic ideas and figures that Louis Armstrong introduced
into the popular music of the day became a standard part of the lexicon
of popular music for years to come.
Louis Armstrong's innate sense of rhythm
was paralleled by his sense of melody, and harmonic progressions
of which he was a master.
And while I have never read anything about Louis Armstrong
mentioning the use of a metronome, who's to say
that he did not use a metronome when he was in the
Colored Waifs Home in New Orleans while he was learning
to play the trumpet under the tutelage of Peter Davis.
My point is... the fact that you cite Louis Armstrong in
relation to this topic, is a bit of a stretch.
And BTW... Louis Armstrong did have
a great sense of time, not a great "since"
of time.
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Robert P
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PostPosted: Wed Oct 18, 2017 9:02 pm    Post subject: Reply with quote

There are endless exercises you can do without needing a book. Tonguing, lip trills, scales, long tones, arpeggios, etc. etc. Play a one octave F# scale from the bottom of the horn then do it again adding a step and go as high as you can.

Etc.
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